Mystic Union: an Essay in the Phenomenology of Mysticism.

1995 ◽  
Vol 45 (180) ◽  
pp. 375
Author(s):  
William L. Rowe ◽  
Nelson Pike
Keyword(s):  
Mystic Union

Mystic Union

1994 ◽  
Vol 11 (3) ◽  
pp. 488-495
Author(s):  
William J. Wainwright ◽  
Keyword(s):  
Mystic Union

Visions and voices VS. mystic union

Sophia ◽  
2001 ◽  
Vol 40 (1) ◽  
pp. 33-43 ◽  
Author(s):  
Daniel A. Dombrowski
Keyword(s):  
Mystic Union

The Possibility of Theistic Experience

1998 ◽  
Vol 34 (3) ◽  
pp. 317-323
Author(s):  
J. WILLIAM FORGIE
Keyword(s):  
Religious Studies ◽  
Recent Issue ◽  
Mystic Union ◽  
Theistic Experience ◽  
Nelson Pike

In a recent issue of Religious Studies Kevin Corcoran has criticized my arguments for the impossibility of theistic experience (i.e. an experience which is phenomenologically of God). Building on, and amending, criticisms already levelled against my views by Nelson Pike (in the latter's Mystic Union), Corcoran argues that my views are based on an account of what it is for an experience to be ‘phenomenologically of’ an individual (or kind of thing) which leads to ‘wildly implausible’ results. I here try to show that Corcoran's criticisms are based on a misunderstanding of my views.

Mystic Union

2009 ◽  
Vol 34 (1) ◽  
pp. 60-62
Author(s):  
D. Z. PHILLIPS
Keyword(s):  
Mystic Union

Visuality in Esoteric Buddhism – Awakened with a Single Glance?

2020 ◽  
Vol 74 (4) ◽  
pp. 911-944
Author(s):  
Paulus Kaufmann
Keyword(s):  
Visual Media ◽  
Ritual Performance ◽  
Rigid Structure ◽  
Single Passage ◽  
Esoteric Buddhism ◽  
Art Works ◽  
Mystic Union ◽  
The Buddha

Abstract In the year 806 CE the Japanese monk Kūkai returned from a journey to China and brought a large amount of visual artefacts with him. Commentators have wondered since what role these visual media play in Kūkai’s Buddhist thought. It has been speculated that the art works show that Kūkai values visual media higher when it comes to transmitting the teaching of the Buddha. Proponents of this view usually refer to a single passage from Kūkai’s writings to warrant their interpretation. By analysing the respective passage in detail and showing how it connects to Kūkai’s other writings, this article argues that Kūkai did not prefer the visual to the verbal in transmitting the dharma. Mandalas certainly play an important role in Kūkai’s thought, but their role differs from what these modern interpreters suppose: first, when Kūkai speaks about ‘mandalas’ he often does not refer to paintings, but to the structure of reality or to ritual procedures. Second, mandala paintings have an ambiguous role in esoteric ritual, because they were added rather late in the development of esoteric ritual. For Kūkai they serve primarily as storyboards for ritual performance. Third, the first glance at a mandala is an important moment during esoteric initiations, but it is only the beginning of a rigorous training. Moreover, the crucial moment in esoteric ritual is the union of the practitioner with the deity; glancing at the mandala has no role to play in this mystic union. Fourth, mandala paintings can be used, according to Kūkai, to reveal the deeper structure of texts, but in this role they are not superior to the written medium but rather play a helping role. Fifth, Kūkai believes that texts as well as paintings can be misleading whenever they are taken as representations of a rigid structure of reality. In Kūkai’s eyes, the visual cannot, therefore, solve the problem how the Buddha can transmit his dharma.

Pike's Mystic Union and the Possibility of Theistic Experience

1994 ◽  
Vol 30 (2) ◽  
pp. 231-242 ◽  
Author(s):  
J. William Forgie
Keyword(s):  
Third Parties ◽  
First Person ◽  
Mystical Tradition ◽  
Experiential Content ◽  
Mystic Union ◽  
Theistic Experience ◽  
Nelson Pike ◽  
Person Experience ◽  
First Person Experience

In his long-awaited Mystic Union, Nelson Pike offers a phenomenology of mysticism. His account is based on the reports and descriptions of third parties, not on his own, first-person experience. So he calls his enterprise ‘phenomenography’, an attempt to describe the experiential content of conscious states by way of reports of them. Pike finds in the Christian mystical tradition three different kinds of experiences of mystic union, the ‘prayer of quiet’, the ‘prayer of union’ and ‘rapture’. These experiences differ phenomenologically, i.e. in experiential content. But they are all ‘theistic’ experiences; that is, they are all phenomenologically of God. By this Pike means: (a) whether these experiences are veridical or not, their object – what they are veridical or hallucinatory experiences of – is God; and (b) that they are of God is part of, or given in, the phenomenological content of the experiences themselves.

El Amor Y La Salvación Existencial En Dos Poemas De Pedro Salinas

PMLA ◽  
1970 ◽  
Vol 85 (2) ◽  
pp. 205-211
Author(s):  
Por Juan Villegas
Keyword(s):  
Mystic Union ◽  
Pedro Salinas

The recurrent euphoria of the lyric speaker who addresses the mysterious beloved in La voz a ti debida establishes love as the keynote of the work. The poet strives for and falls in love with love itself. Reacting against a tangible world which has no meaning for him, he seeks instead the mysterious and the ineffable, musing on his beloved's reality, searching for that reality, and struggling against a void. This conception of love is manifest in the theme, structure, and images of each poem. In the first verse, “Cuando tu me eligiste” the three moments–before (chaos and confusion), now (vital plenitude and enthusiasm) and after (deception and return to gray uniformity) –are distinguished by varying images and poetic tones. Joy is dominant in the second offering, “Qué alegría vivir / sintiendose vivido!” and is thematically justified because the lyricist's amorous fulfillment prevents the anguish of nothingness and the threat of death, and affirms love's power. The poem's structure is parallelistic, based on the two types of existence. His is unreal and banal; hers is real and meaningful. The movement of the poem leads to the joining together of the lover and the beloved and culminates in their mystic union at the poem's center. The images are ethereal and provide an example of a “poetics of verticality.” (In Spanish)

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